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SSAGHUSETTS HARMONY, 

B E I H G 

A New CoLLECTiorr of 

-PSALM T U N E s, 

FUGES and ANTHEMS, 

SELECTED 

from the moft Approved AUTHOR S, Ancient and Modern. 1 



■ 1 7T 



By* a LOVER of HARMONT. 



3 



N : 



TEfi Wfi an I Sold by JOH V NORMAN, at his Shop in Marfhall's Line, near the Bolton Stone ; where may be had a ne-w Colleftion of T\un«« 
faitabie to bind up with Watt * Piaimt ani Hymns ; alfo, the Britifa, Grammar, French Gramiair, Spelling Books, Pfalters, Primer*, &c. 



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JrL An.btvtt 

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JkvlK Ill 

" C 

< ;,' •,;-! jbu'i y 
Cfi.iilcbvrch 

! cut it h 
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j3 
4S 
65 
- 5 
*) 
'7 
34- 
9 
9 
8 

7 
Si 

5* 
4* 
42 



^4- 



14- 





D 


F 




Falifield 


34 


Falmouth 


<*A 


Funeial Thought 


re 


G 


9,1 


Guilford 


Grantham 




., K 




Hanover 


95 


Hartford 


*> a 

*T 

80 


Hatfield 


s 6 


I 




Iflir.gton 




Iflc of Wight 


47 


I rift 


19 


Infant Saviour 


• 31 


K 




Kingfbridge 


v Hi 


L 


Landaff 




Lydd 


09 


Lexington 




Little Marlborough 


1 


M 


;/ ■«*• 
,- -ibid 


Morctcn 


Morning Hymn 




1 Middletown 


. 3* 


1 M ilfotd 


*6 



N 

Norwich 
Newbury 
North Street 
O 

Old Hundred 
P 

Putney 
Poole 

Philadelphia 
Plymouth 
Paria 
ParinJon 
Pfalm' 25 
Ditto 1 2. 2. 
Ditto 3 
Ditto 33 
Ditto 136 
Ditto 46 
'Dittfi ; '5- 
* -'Biu* ; 34 ' 

I A- R 
1 Rockwell 
I "Rictmanfworta 
1 RiF.eton 

H Richmond 

1 Rochefter 



S3 
18 

78 
28 

33 

36 
43 
70 
S7 
ao 

S3 
*7 
3° 
34 
3S 
37 
49 
6 



»1 ' """"l-- 

Springfield , 
Salem 
South « ■* 
Sutton ^ 
Stockbridge * 
SufiBeld 'V 
Sheffield ^ 
Savoy 1 
St. Anns %% 
St. James' 

St. Hellens * 
St. Martins ^ 
St. Matthews 

W 38 

WaHmgton g 

Winchefter &| 

Wickham • 

Wantage ' 

Wells *f 

Windfor , „ „ 4 * 

A N T H E M S. 

Arife fbine O Zioa *° 
I will Sing 

Lift up your Heads j 
O Lord God of Ifrael 5+ 
The Beauty «t Iiiaei 



PREFACE. 

9 I E Motives which firft induc'd rat to publifh the following meets, were the repeated felicitations of many perfons, and a finceve defire to furnid) School? with i 
I variety of plain Pfalm Tunes, and fuch as were particularly adapted to pablic fecial Woi (hip. I h ive fclected mo"ft of the Fuges and Anthems from diffc tiit 
i. JL European Publications, and (bme are entirely Original. I wiih'd to have added feveral other Anthems ; but the pr lpos'd fize wou'd not admit of it. 1 hope 
tone of thole worthy Characters wbo have heretofore publifhed Books of this kind, will be Co ungenerous as to brand me with the appellation of pirate » or plagiary, be- 
traitfe I have fo high an opinion or their knowledge in this Science, their judgment, and good ufte, as to publilh Come of their Com pofi*i ons. It, I have any claim fd 
Ifcruth, I (h-all be believed when I allert, that I did not undertake this Compilation from lucrative motive , bur, as hinted before, with a defire to be lerviceible to filch" 
As wifh to gain fome knowledge in this divine Science. I have endeavoured to fill the following pages with the woi ks of the nWft approved Authors, both ancient mi l 
modern, though it cannot be ex icdted tint allthegoid pieces which they contain can 3ppear in fo Tin. ill a compafs as this ; doubtiefs there may be many in jthisi w!vi [j 
tbe jndicious and curious miy think might have been omitted, and their places filled with thofe which are better. \l am very feniible, that no publication of this kirid 
Will univerfally pleal'e ; becaufe thife oieces which agreeably aft\ct the auricular Organs of fome, will not ftrike others in the fame manner : And indeed there arefo:ne 
Hoic fouls, whom muGc's charms ould never mive, an i who would not blufll to affsrt, that the grinding of knives entertained them as agreeably as Handell's organ. To 
Hch I have ' nothing to fay ; but only that they are deprived of part of that pleafure and fatisfaftion which I enjoy. I (hill receive it kindly <f 
■bofe who may difcover errors, if tbey wojKI judge caididly, 'and ho,); to be believed when I afl'ert, that I have meant well, and had this colle&ion been aa 
■uch better as fome may think it might have been, they (hould have been as fincerely welcome. . ( The Editor.. 

■ ADVERTISEMENT. 

SOME Tunes (being given to the E ngraver, who took them from wrong publications) will appear without the ufual Cliff on the Counter, and fjme with double 
. Bars, and two or three with a C Cliff 'he Tenor, from the gieat Mr. Arnold, who always ufed the Cliff : But as the Counter may as e«/ily be lung without x 
t Cliff, and the Tenor with a C, as a G Cliff, and the trouble of erali.ig would be fo great, I prelume it will be excufed. Some difcords may be found in feveral pieces ; 
but they are allo.ved when properly covered, and all parts move together ; and I only wilh there may not more be made in performing the pieces, than there realty 
are in then. I m id co.ifefs, I djn't think it abfolutely neceffa.y to introduce difcords into the compilation of a tune, in order to nave fome difcoverefl in performing ir. 
And I with. Miitersi.i particular would attend to fu:fi perfais, and ch >irs as they inftru<Sl, and obferye that they give the right found to Mi, in a natural (harp key ; for 'lis 
very feldom that I hear St. Hellens or 34-th Pfalm, &e. fung right, aid even by fuch perfons, who would not think you complimented them too highly, if you tsM then?. 
Ihey had a milt delicate ea^, and could accurately diftinguifti bet veen a concord and difcord, even if they were then grating your ear with their Jargon. Corre&ne'S 
fu» been the principal object in view, it I have failed in attempting to obtain it, the indulgence of the public, and tae can lor of teachers in particular, wiil plead in 
my fayojr. I (lull omit luggeiting any rules refpe£iing compolkion, left it might be too julxly oblerved, that I had attempted what I did not fufficiently underftand. 

ORNAMENTS of MUSIC. 

TN performing voca!. Mafic, it is abfolutel-y neeeflfr.ry, that. the voice ihiuld be as clear as poflF.ble, that every note (hould be founded clear and diftinft; the words and' 
JL fyllabl«j (hiuld be proniunced plain and full, except fuch, in which are letters, which are not founded in commm pronunciation, a.s in people, cholen, &rc. Accent 
1* a certai* force of the voice upin particular parts of t ie bar, ai i di&nguilh'es one moid from another, and without which there would be but one mood. Coui:r.on 
fi ne being divided into four eqjal oirtsj the fir ft and ihird are accented. Triple' Time into three equal parts, the full and thi r d likewife. Compound Time into fix,' 
Ibe firft »nd fourth are accented. Tne firft oirt of a Ba- is always accented, and more forcibly than the laft accented part. The fourth Mood of Common Time, ar. 5 
tht Moods of Triple, can but juft be faid <-o have more than one accent in a Bar. The length of Notes fometimes anfwers, in fome meafure, for force of voice, which is 



lommon in Triple Time; by tins Notes of Synooation are formed, which interfere with the proper Accent, and have it in the middle of the Note. 
Wttlsc (hoald always agree with emphaticil Words and accented Syllables, 



The accent of tW 



I 



Of MOOD S. 



Firft 

Second 

Third 
Fourth 

Firft 
Second 

Third 



breve, which is the Mealare Nou, and is to be founded while you may diftm£Wy tell i, 2, 3. 4, containing 1, z> will) the hand down, and 3, 4., 
with it up. 

Has a Semibreve for the Meafure Note, and beats after the fame manner, only half as quick again. 



Common Time is meafured by even Numbers, as «, 4, 8, &c. each bar including: fuch a Quantity of Note?, or Ke-fts, ^a* wiil^raonnt to a Seihft 

<!> 

of(t) Has the fame Meafure Note, and Sung as quick again as the firft and fecond, the hand once down, and once up in each Bar, which contain: 
J two beats. 

This has a Minim for a Meafure Note, and beat as in the la ft, only a third quicker 

4 

3, Triple Time is meafared by odd Numbers, as three Minims, three Crotchets, three Quavers, and in a Bar. This Mood contains three Ms* 
nims in a Bar; and fung in the line of two Seconds, two beats down, and one up. 



3^ 



Contains three Crotchets, or a pricked Minim in a Bar, and beat aftei the farce manner, but a third quicker. 

Has three Quivers in a 3ar, and Sung a third quicker than thexd— — two beats in a Bar, the Hand twice as long down as up. 



Firft 



Second 



6^ 
+ 

6 
X 



Contains fix Crotchets in a Bar, three beat down, and three up, two beats in a Bar. 
Contains fix Quavers in each Bar, three beat down, and three up, in each Barb 



I 




Treble and Tenor 



The 



F 
E 
D- 

c 

B- 
A 
C3 
F 

E- 



G- 

F 

E- 

D 

C 

B 

A 

G 

F- 



A- 

G 



c: 

B- 

A 



03- 



Gou liter, 



Bttft. 



o: 



fo! 

fa 

la 

fol 

fa 

mi 

la 

fol 

Fa 

la 



fol 
fi 

la 

fol 

fa 

iv. i 

la 

fol 

fa 



This Cliff ga is 
afed on the Treble 
and Tenor, and is 
llways on the Se- 
cond line aorn the 
bottom. 



This C]]f n i 3 
fchloin ufcd but in 
Co!itifer,and is plac- 
ed on the middle 
Line and is called 
the C Cliff. 





This Cliffy lifer! 


h 


only in Baf>, is fet 


ife] 


■n .he Second Line 


fa 


, tromrbe Top, and. 


'a 


1 is called the F Cuff. 


-fol 




ta 




nii 




la 




iol 





Names 
Semibreye 

Minim 

Crotchet 

Quaver 

Semiquaver 

Demifemiquaver 



M U T, 

"Notes 
Q 




3 



If diere are neither Flats nor Sharps on a Tune, 

Mi is in B, But if B be flat Mi is in — — E. 

If B & E be flat Mi is in A. If B E & A 

b= Mat Mi is in D. If B E A & D be flat 

Mi is in G. B E A D & G be flat Mi Is in 

— C If B E A G & Cbe flat Mi is in F. 

If B E A D G C & F be flat Mi is in B. 

If F be Sharp Mi is in — — F. If F & C be fharp 

Mi is in C. If F C & G be (harp Mi is in 

— G. F C G & D be fliarp Mi is in D. 

if F C G D & A be fliarp Mi is in— ^— A. If 

F C G D A & E be (harp Mi is in E. If 

F C G D A E k B be flat Mi is in B. 



The following Scale will eafily difcover whe- 
ther a Tune is on a flat, or (harp Key, if the third 
fixth and feventh, are half a Tone higher, or 
are major thirds, fixth and feventh it is on a Sharp 
Key, if minor, then it is oh a Flat Key. If the 
laft Note in the Bafs which is tke Key Note, is 
immediately above Mi, confequently Fa, it is 
a Siia-p K?y, if below Mi, confequently La, 
the Tune is on a Flat Key. 



snaip Key, 
Major- — -Mi— 7 th — 
Major La — 6th — 



Flat Key. 



-Sol- 



-Fa— - 



Major- — La — 3d— 




■ Sol- 



-Fa- 



• Minor— —Fa— 
-Mi- 

■ «■ Li- 



Character*. 



Explanation of the feveral Mufical Characters. 



A Brace. 

Single 

Bar, 

Double 
Bar. 

A Stave 



Ledger Line, 
A Flat. ; 

A Sharp. 

A Natural 

A Slur. 1 
F'gure. 

Repeat. 

Dot or Point. 

Figures, 

A Clofe. 



f 



Shews how many Parts move together. 

Divides the time equally according to the MeafureNote. 

Denotes that the drain is ended. 

The five Lines on which the Mufic is written, 

A Line added when the Notes afcend, or defcend above or below the Stare, 
Set before a Note, finks it half a Tone. 1 - - ■ 



Set before a Note rafes it half a Tone. 

Reduces a Note made Flat or Sharp to its primitive Sound. 

Is drawn orer or under as many Notes as are Sung to one Syllable. 
Set over any three Notes, fhewsthat they mull be fung in the time cf two. 

Shews the ftrain, from the note oyer which it is placed to a double bar, or clofe, is repeated. 

At the right hand of a Note, makes it half as long again, as without it. - r 

fi 2. ^ew that Note under figiiVei.is Sun s before the Repeat, and under figure a after, but 
if tied, both are Sung after the Repeat. . 



3 

:S: 



|g Shews the End of the Tune. 



Of Flats, Sharps, and Tranfpo- 
fition of Keys. 

Flats and Sharps placed at the beginning of 
Tunes, regulate the Mi irvthe Tranflitions of 
K?ys. There are but two natural Keys in Mu- 
fic, viz. C the Sharp, or cheerful, and A the 
Flat and melancholly Key, and thele are dil- 
tinguilhed as may be feen in the Scale. No 
Tune can be formed on any other Key than 
thefe, without the addition of Flats or Sharps 
at the beginning, which, brings the progressi- 
ons of the other Keys to the fame effect as the: 
w\o naturnl Keys.. The reafon why the two 
natural Keys are fo tranfpofed, is to bring the 
feveral Tunes' within the compafs of the hu- 
man voice. Obferve that from mi to fa, and 
la to fa, a(cending,"are but half notes, and ficm 
fa to la, and fa to mi def.endiijg. 

N. B. Whenever you have found Mi, the 
Notes above are fa fol la, fa fb! la ; and be- 
low, la fol fa, la fol fa. then Mi ag ain, whe- 
ther Flats Sharps or not. 



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